#rawblackmetal — Public Fediverse posts

In a genre as insular as the often meme’d-and-mocked “one man raw black metal” offerings, Black Cilice have managed to become kind of a big deal. With an early release schedule that makes Coffins look like a bunch of slackers, their output has finally begun to slow down over the years, going from multiple splits and demos in one season to multi-year bouts of interruption. Votive Fire comes after an unusual four-year gap between full-lengths, claiming a slightly improved production and an emphasis on bigger songs. Black Cilice have been on a bit of an evolutionary bent as of late, transitioning from an almost impenetrable wall of noise into crafters of riffs with real might without sacrificing mood. I was curious to see how this newest creation would manifest itself, so go get your favorite goat to sacrifice and come take a walk through the fires with me.

How raw is raw? While older Black Cilice albums channel piercing treble tones through wind-tunnel cacophony, later works have tinkered with just a touch of varied emphasis. Previous LP Esoteric Atavism had decipherable leads which shimmered over the blast-heavy chords, and recent EP Tomb Emanations1 had a radical focus on emphasized doomy chord progressions in lieu of sheer assault. Votive Fire continues this slight change, returning to the more fog-and-moonlight murk of Transfixion of Spirits, but this time the band gives the listener a slightly brighter lantern. The drums have the bass kick cranked way up, giving every slowed rhythm a tribal pulse. The rest of the kit benefits too, with the expected speed in bits of “Into the Inner Temple” letting cymbals shine brightly in their fills and accents, somehow well articulated while still buried enough to offend people looking for something with the clarity of Necrophobic.

The net result of this production is an album that seeks to be meditative and soothing more than frightening and oppressive. The compositional approach of Votive Fire is four long songs that pick a key motif and then, ever so slightly, tweak and evolve the main riff through tempo changes and sustained chord pounding. It’s in these slower moments that the Fire shines the brightest; see the climactic slowdown ending “Released by Fire”, where the open space lets the drums run full scales while the looping chord progressions slowly build tension before exploding into another burst of speed without losing the established melancholy. That melancholy permeates the whole of Votive Fire. While Black Cilice could hardly be accused of ever making something uplifting, this particular album sidesteps the typical bleak claustrophobia with a vision much more inclined to introspection and self-reflection.

The one knock on Votive Fire is that, from a formula standpoint, each song follows roughly the same pattern: repetitive, hypnotic progressions under crystalline blasts evolving into a chunkier, punkier refrain before collapsing back into more anguished strums, all lashed forward by the glass-shattering vocals. With such a scant song selection, it may seem a little silly to try to find highlights. However, this is a headphone purist’s dream album, where the repetition of formula disguises the unique twists genuinely present, rewarding repeated listens in the right environment. “Vows Sworn for Centuries” hides a real gem of a riff in a shifting blast-beat instead of a slowdown, and “Deconstruction of All Realities” carries a main midtempo refrain which is both ritualistic and head-bangable. The production helps with this, somehow managing to mix everything to the bottom instead of to the front and letting the listener search for details articulated in the mire, rather than pushing everything forward and letting the disparate elements compete for attention. Consequently, this is a rare album that is raw af but somehow graceful to the ears, inviting the listener to dive deeper rather than partake in a display of auditory masochism.

Votive Fire manages to give itself an identity apart from previous Black Cilice releases, but where it can rank depends on what you’re looking for. It’s not as aggressive and riff-centric as Esoteric Atavism, not as punishingly raw as Summoning the Night, or as frighteningly atmospheric as Transfixion of Spirits. Instead, by fusing the riff game of the former into the misty comfort of the latter, Votive Fire transcends being a slab of aural abuse by way of offering moments with genuine, wistful beauty. That’s not a label I often get to associate with this genre, but I’m hardly disappointed. If you’re bored by the air-conditioner sound of your average one-man black metal, go light a candle and let the Votive Fire offer you a glimpse into something more, just beyond the veil.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Iron Bonehead Productions
Website: Album Bandcamp
Available Worldwide: May 1st, 2026

MORGRAV (Canadà) presenta nou EP: "Gazing Beyond the Withered Orchids Into the Mysterious Eye of Naüroon (Cemetery Rehearsal MMXXVI)" #Morgrav #RawBlackMetal #DungeonSynth #Maig2026 #Canadà #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

MORGRAV (Canadà) presenta nou EP: "Gazing Beyond the Withered Orchids Into the Mysterious Eye of Naüroon (Cemetery Rehearsal MMXXVI)" #Morgrav #RawBlackMetal #DungeonSynth #Maig2026 #Canadà #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

WAMPYRIC RITES (Equador) presenta nou Split: "Consecration of Nocturnal Entities" #WampyricRites #RawBlackMetal #Maig2026 #Equador #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

WAMPYRIC RITES (Equador) presenta nou Split: "Consecration of Nocturnal Entities" #WampyricRites #RawBlackMetal #Maig2026 #Equador #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

MISTWALKER (Canadà) presenta nou àlbum: "The Obsidian Gospel" #Mistwalker #RawBlackMetal #BlackenedThrash #HeavyMetal #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MISTWALKER (Canadà) presenta nou àlbum: "The Obsidian Gospel" #Mistwalker #RawBlackMetal #BlackenedThrash #HeavyMetal #Maig2026 #Canadà #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ETERNAL ICE (Japó) presenta nou Split: "Eternal Ice / Vëřťžîmbrÿġțžûmşțřě" #EternalIce #RawBlackMetal #Maig2026 #Japó #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

ETERNAL ICE (Japó) presenta nou Split: "Eternal Ice / Vëřťžîmbrÿġțžûmşțřě" #EternalIce #RawBlackMetal #Maig2026 #Japó #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

BLACK CILICE (Portugal) presenta nou àlbum: "Votive Fire" #BlackCilice #RawBlackMetal #Maig2026 #Portugal #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Free download codes:

BÁL - Dög (Full-length)

"The cover talks for itself. You'll hear what you see."

https://getmusic.fm/l/u9xMZB

#blackmetal #rawblackmetal #atmosphericblackmetal #dissonantblackmetal #music

MARCHEUR DE NUIT (Canadà) presenta nou single: "Memories of a Golden Age" #MarcheurDeNuit #RawBlackMetal #DungeonSynth #Abril2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MARCHEUR DE NUIT (Canadà) presenta nou single: "Memories of a Golden Age" #MarcheurDeNuit #RawBlackMetal #DungeonSynth #Abril2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MARCHEUR DE NUIT (Canadà) presenta nou single: "Thus Spoke the Sword" #MarcheurDeNuit #RawBlackMetal #DungeonSynth #Abril2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

MARCHEUR DE NUIT (Canadà) presenta nou single: "Thus Spoke the Sword" #MarcheurDeNuit #RawBlackMetal #DungeonSynth #Abril2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

The Queen Is Dead Volume 200 – Fuzzing Nation, RedRedRed, Imperi De Tenebra

The Queen Is Dead Volume 200 - Fuzzing Nation, RedRedRed, Imperi De Tenebra
Siamo arrivati al numero 200, grazie a tutti quelli che ci leggono e lasciamo la parola come al solito alla musica, con un gran disco di stoner desert dalla Grecia, poi un bel disco heavy rock dalla Francia e si chiude con raw black metal medioevale in antico catalano.

#iyezine #inyoureyesezine #iyezine.com #thequeenisdead200 #fuzzingnation #redredred #imperidetenebra #stonerdesert #heavyrock #rawblackmetal

iyezine.com/fuzzing-nation-red…

The Queen Is Dead Volume 200 – Fuzzing Nation, RedRedRed, Imperi De Tenebra

The Queen Is Dead Volume 200 - Fuzzing Nation, RedRedRed, Imperi De Tenebra
Siamo arrivati al numero 200, grazie a tutti quelli che ci leggono e lasciamo la parola come al solito alla musica, con un gran disco di stoner desert dalla Grecia, poi un bel disco heavy rock dalla Francia e si chiude con raw black metal medioevale in antico catalano.

#iyezine #inyoureyesezine #iyezine.com #thequeenisdead200 #fuzzingnation #redredred #imperidetenebra #stonerdesert #heavyrock #rawblackmetal

iyezine.com/fuzzing-nation-red…

The Queen Is Dead Volume 200 – Fuzzing Nation, RedRedRed, Imperi De Tenebra

The Queen Is Dead Volume 200 - Fuzzing Nation, RedRedRed, Imperi De Tenebra
Siamo arrivati al numero 200, grazie a tutti quelli che ci leggono e lasciamo la parola come al solito alla musica, con un gran disco di stoner desert dalla Grecia, poi un bel disco heavy rock dalla Francia e si chiude con raw black metal medioevale in antico catalano.

#iyezine #inyoureyesezine #iyezine.com #thequeenisdead200 #fuzzingnation #redredred #imperidetenebra #stonerdesert #heavyrock #rawblackmetal

iyezine.com/fuzzing-nation-red…

The Queen Is Dead Volume 200 – Fuzzing Nation, RedRedRed, Imperi De Tenebra

The Queen Is Dead Volume 200 - Fuzzing Nation, RedRedRed, Imperi De Tenebra
Siamo arrivati al numero 200, grazie a tutti quelli che ci leggono e lasciamo la parola come al solito alla musica, con un gran disco di stoner desert dalla Grecia, poi un bel disco heavy rock dalla Francia e si chiude con raw  black metal medioevale in antico catalano.

#iyezine #inyoureyesezine #iyezine.com #thequeenisdead200 #fuzzingnation #redredred #imperidetenebra #stonerdesert #heavyrock #rawblackmetal

https://www.iyezine.com/fuzzing-nation-redredred-imperi-de-tenebra/

RAVANA (Croàcia) presenta nova demo: "Demo II" #Ravana #RawBlackMetal #Abril2026 #Croàcia #NovaDemo #Metall #Metal #MúsicaMetal #MetalMusic

COFFRET DE BIJOUX (Canadà) presenta nou Split: "coffret de bijoux / Aftoktonia" #CoffretDeBijoux #Atmospheric #RawBlackMetal #Ambient #Various #Abril2026 #Canadà #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

COFFRET DE BIJOUX (Canadà) presenta nou Split: "coffret de bijoux / Aftoktonia" #CoffretDeBijoux #Atmospheric #RawBlackMetal #Ambient #Various #Abril2026 #Canadà #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

HESSIAN (Estats Units) presenta nou Split: "Black Horizon" #Hessian #RawBlackMetal #Abril2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

HESSIAN (Estats Units) presenta nou Split: "Black Horizon" #Hessian #RawBlackMetal #Abril2026 #EstatsUnits #NouSplit #Metall #Metal #MúsicaMetal #MetalMusic

Tumultuous Ruin – An Abscess on the Heart of the State
#BlackMetal #Metal #RABM #RawBlackMetal #anarchistblackmetal #atmosphericblackmetal #deathdoom #doommetal #postrock #usbm #Amadora
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hypnoticdirgerecords.bandcamp.com/album/an-abscess-on-the-heart-of-the-state

Hatefog x Mysterivm Xarxes Split (2026)

https://mysterivmxarxes.bandcamp.com/album/hatefog-x-mysterivm-xarxes-split

#bandcamp #blackmetalmonday #rawblackmetal

https://www.europesays.com/uk/869379/ Këkht Aräkh – Morning Star Review #25 #2026 #AtmosphericBlackMetal #BlackMetal #Bladee #Entertainment #FolkMetal #KëkhtAräkh #Mar26 #MorningStar #music #RawBlackMetal #Review #Reviews #SacredBonesRecords #UK #UkrainianMetal #UnitedKingdom

Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait?

On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist.

Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static.

One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection.

Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Sacred Bones
Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh
Releases Worldwide: March 27th, 2026

Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait?

On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist.

Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static.

One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection.

Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Sacred Bones
Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh
Releases Worldwide: March 27th, 2026

Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait?

On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist.

Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static.

One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection.

Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Sacred Bones
Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh
Releases Worldwide: March 27th, 2026

Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait?

On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist.

Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static.

One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection.

Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Sacred Bones
Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh
Releases Worldwide: March 27th, 2026

Somehow, Këkht Aräkh is one of the most popular black metal artists in the game right now. Since the release of sophomore album Pale Swordsman in 2021, the solo project of one Crying Orc (Dimitry Marchenko) has garnered serious momentum outside of the typical metal fandom with its melody-forward, “romantic” black metal sound. That record showcased a solid and surprisingly listenable, DSBM-informed, almost folksy take on classic ’90s blackened tropes, but more importantly, it felt emotionally honest without being cheesy. With album art like that, heartfelt, sadboy lyrics about love and isolation, and a raw, tape-inspired sonic landscape, it was an impressive achievement that the earnest pathos of Pale Swordsman managed to eclipse the potential corpse-paint cringe. Five years later, with a memetic cover referencing an infamous, dorky Varg photo and a string of singles that seem equally indebted to modern cloud rap and black metal, one can’t help but wonder whether Morning Star has tipped the delicate balance between sincerity and self-parody. As a cloud rap enjoyer and black metal nerd, I might be the only staff member not to laugh this latest Këkht Aräkh out of the schoolyard. Is this long-anticipated follow-up actually worth the wait?

On Morning Star, Crying Orc hasn’t lost his ear for blackened melody that made earlier Këkht Aräkh material engaging; he’s just found new ways to package it. Tracks like opener “Wänderer” take the familiar black metal elements, but re-purpose them to mimic the patterns of hazy SoundCloud beats. The central bedroom guitar motif operates on a two-bar loop, with layers of distorted tremolos added and stripped back across verses and hooks like a hip-hop producer might use synths. A warm, syncopated bass supplies rhythmic variation as the drums blastbeat away. Crying Orc shifts between shrieks and whispers, both delivered in a clipped, almost percussive flow, peppered with ad-libs. This formula is surprisingly effective and allows the layers of haunting melodies to shine alongside more straightforward 2nd-wave riffing (“Castle,” “Land av evig natt II”) or with a greater emphasis on sung vocal lines (“Mörker över mörker,” “Gates”). Bladee himself even appears on “Eternal Martyr” to lend his signature autotuned anti-charisma to an earworm hook, resulting in a genuine blackened banger. The cloud rap influence pans out better than I could’ve expected and leads to several highlights across the tracklist.

Of course, this is only one side of the Këkht Aräkh coin, as many of the songs on Morning Star forgo black metal altogether in favor of indie-tinged folk ballads. “Genom sorgen,” “Drömsång” and “Trollsång” are composed of minimalistic clean guitars, subtle synth layers, and softly sung vocals. These tracks are serviceable and understandable in the context of a longer album, but they lack the sense of progression and movement that makes the black metal material enjoyable. Crying Orc’s singing has an amateur charm that conveys a sorrowful gravitas when deployed, and it’s often pleasant in short bursts, but many of the softer moments fail to capitalize on it for maximum effect—and they make up a significant portion of the album. Even outside of the dedicated slower tracks, songs like “Lament,” “Raven King” and “Vigil” bookend their runtimes with extended minimalism that does little to further the greater piece. The title track “Morning Star” is an exception to this rule: led by a mournful string melody, it expands and contrasts brilliantly, whereas the others remain static.

One area where Këkht Aräkh should have diverged from his rap peers is in Morning Star’s bloated tracklist of 17 songs. With each track firmly in the 2-3 minute range, many feel like half-finished ideas that end abruptly before anything interesting happens. As a result, the more engaging black metal tracks lose some of their power when they’re buried next to underwhelming ballads. This ends up emphasizing an ephemeral “vibe” as the record’s strongest trait rather than any individual track. A combination of the lo-fi, tape-inspired soundscape and the persistent melancholic melodies makes Morning Star a very easy album to throw on and just bathe in its atmosphere. The whole thing exudes a pervasive sense of emotional honesty that’s enticing. It’s a record that sounds amazing on a car ride or in the background, when conjuring a certain mood, but falls a bit short upon closer inspection.

Morning Star is a difficult record to evaluate. There’s a lot here to like, from the shockingly adept integration of cloud rap elements to the enticing layered melodies and lo-fi production, but these strengths are ultimately undercut by an overstuffed tracklist and songs that fail to develop. In a certain light, this could be a strength for listeners who prioritize musical “vibes” over substance, but to this metalhead, it comes across as underbaked.



Rating: 2.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Sacred Bones
Websites: kekhtarakh.bandcamp.com | Instagram.com/kekht_arakh
Releases Worldwide: March 27th, 2026

ANERAXT (Iran) presenta nou àlbum: "Days Before the Revolution" #Aneraxt #RawBlackMetal #Punk #Març2026 #Iran #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

ECLIPSED MOON APPARITIONS (Catalunya) presenta nou àlbum: "En les ombres, malson espectral" #EclipsedMoonApparitions #RawBlackMetal #DungeonSynth #Març2026 #Catalunya #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4

Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4

Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4

Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4

Gigrøma – Вдохновение
#Metal #atmospheric #atmosphericblackmetal #blackmetal #blackgaze #deathmetal #doom #doommetal #drone #postblackmetal #postblack #postrock #rawblackmetal #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://gigroma.bandcamp.com/album/--4

I love black metal, but it certainly has a reputation for taking itself too seriously. Now and then, though, a few bands remember that this is the genre that gave us pseudonyms, corpse paint, and grown adults pretending to be forest demons. Acts like Old Nick and Ordo Vampyr Orientus have been a welcome slap in the face, embracing black metal’s inherent goofiness and piling on the camp without collapsing into total self-parody. Which brings us to Night of the Vampire, the latest addition to this batch of kitschy kvlters. This is the handiwork of one “Astral Shadow,” whose 2022 EP hinted at something genuinely fun—a danceable, blackened darkwave hybrid that didn’t sound like it hated the listener for existing. Now our Gothic overlord returns with a full-length debut, modestly titled The Enchanting Winds of the Dreamweaving Masquerade. The question is simple: can this gloriously silly idea survive album-length scrutiny, or is it doomed to be background noise for a vampire-themed goth night attended by six people and a fog machine on its last legs?

Night of the Vampire’s take on blackened darkwave is oodles of fun. Across Enchanting Winds, songs are led by gaudy synth lines atop simple distorted guitars, classic 80s drum patterns, and finished with a blackened rasp. This is an effective formula that’s as fun as it is addictive, evoking the playful jubilance of vintage synth-led sounds and sharpening it with black metal’s frostbitten cudgel. The result is campy and over-the-top, but Astral Shadow has plenty of tricks up their satin sleeve to make this formula more delectable. Whether it’s adding tasteful lead guitar and campy clean vocals (“Children of the Immortal Blood”) 1, going full Simple Minds with a driving synth pop rocker (“Sacrificed to the Night”) or deploying some ignorant mid-tempo chugs underneath the ocean of synth (“Casting Shadows in an Ocean of Time”), there’s no shortage of clever adornments to spice up the core blackened darkwave sound. Night of the Vampire might sound more like Depeche Mode than Darkthrone, but that’s fine when this pernicious platter is this delectable.

The Enchanting Winds of the Dreamweaving Masquerade by NIGHT OF THE VAMPIRE

Enchanting Winds provides meaningful variety in its execution, keeping this rave from getting too stale. Night of the Vampire goes full Blade nightclub with “The Cosmic Darkness Calls me,” a delightful goth rager which ditches the guitars for a throbbing synth bassline and icy, programmed drums. The faster tempo of “Mother Moon of the Astral Dawn” is a nice, energetic break from the dancefloor, utilizing effective drum pullbacks to keep its forward momentum, and “Misty Illusions” is a solid dungeon synth closer that eases you out of the whole vampiric experience. With relatively short song-lengths and a curt 30-minute runtime, this is also a record that doesn’t overstay its welcome, allowing for repeated spins without running the risk of blood withdrawal. Enchanting Winds is an enjoyable, blackened journey from start to finish. I only wish it set its sights a little higher.

The main thing preventing Night of the Vampire from reaching sanguine ecstasy is the relative lack of ambition in Enchanting Wind’s songwriting. Astral Shadow’s approach is simple: latch onto a catchy synth melody and then ride it for the song’s entire duration, with minor variation for choruses. This works exceedingly well on shorter pieces or in conjunction with more inventive additions, but falls a bit short when it’s the only tactic on display. As a result, songs built almost entirely around a single synth line, like “The Prince of Many Faces and the Lady of the Night” or “Beyond the Howls of the Celestial Wolves,” end up feeling one-note, with little development or variation. Once you notice this pattern across the record, the impact of individual tracks diminishes. That’s especially frustrating given that “Children of Immortal Blood,” with its contrasting choruses, proves Astral Shadow is capable of writing dynamic, multi-part songs with distinct elements. As it stands, the straightforward songcraft doesn’t prevent these tracks from being exciting in the right context, but it does keep Enchanting Winds from evolving beyond its initial premise.

The Enchanting Winds of the Dreamweaving Masquerade is a charming debut from Night of the Vampire. The essential idea of “black metal meets 80s synths” is effective, entertaining and often moves beyond the simple proposition, even if the straightforward songcraft detracts from my enjoyment at times. I’ll gladly place Night of the Vampire alongside their unserious contemporaries in my “kvlt cheese-maxing” playlist and look forward to whatever Astral Shadow produces next.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Website: nightofthevampire.bandcamp.com | Instagram
Releases Worldwide: February 6th, 2026

Whoa, totally missed this a couple weeks ago: debut EP of the raw black metal side project from Blackbraid, named after one of the greatest smells that exists. Available on 10" vinyl (swoon). 🤘🏻

Petrichor - Seduced by Conquering Darkness (2025)

https://petrichor-us.bandcamp.com/album/seduced-by-conquering-darkness

#Blackbraid #BlackMetal #RawBlackMetal

VVITCHVVÖMITT (França) presenta nou EP: "Vvhere Vvitches Once Lived" #Vvitchvvömitt #Electronic #RawBlackMetal #Gener2026 #França #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

VVITCHVVÖMITT (França) presenta nou EP: "Vvhere Vvitches Once Lived" #Vvitchvvömitt #Electronic #RawBlackMetal #Gener2026 #França #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

UNHOLY KILL (Repu?blica Txeca) presenta nou àlbum: "Znamení Hoří" #UnholyKill #RawBlackMetal #Gener2026 #Repu?blicaTxeca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

UNHOLY KILL (Repu?blica Txeca) presenta nou àlbum: "Znamení Hoří" #UnholyKill #RawBlackMetal #Gener2026 #Repu?blicaTxeca #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

CHEVALLIER SKROG (Repu?blica Txeca) presenta nou EP: "Stíny domoviny" #ChevallierSkrog #RawBlackMetal #Punk #Gener2026 #Repu?blicaTxeca #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

CHEVALLIER SKROG (Repu?blica Txeca) presenta nou EP: "Stíny domoviny" #ChevallierSkrog #RawBlackMetal #Punk #Gener2026 #Repu?blicaTxeca #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

CHEVALLIER SKROG (Repu?blica Txeca) presenta nou EP: "Revereri" #ChevallierSkrog #RawBlackMetal #Punk #Gener2026 #Repu?blicaTxeca #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

CHEVALLIER SKROG (Repu?blica Txeca) presenta nou EP: "Revereri" #ChevallierSkrog #RawBlackMetal #Punk #Gener2026 #Repu?blicaTxeca #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

ANERAXT (Iran) presenta nou EP: "No Title They Killed More than 12,000 in 4 Days" #Aneraxt #RawBlackMetal #Punk #Gener2026 #Iran #NouEp #Metall #Metal #MúsicaMetal #MetalMusic